‎Collectibles‎

‎Salomon, Paule; Roudnitska, Michel‎

‎Tahiti: the Magic of the Black Pearl‎

‎Papeete Tahiti: Tahiti Perles. Fine in Near Fine dust jacket. 1986. First Edition; Second Printing. Hardcover. 9971400499 . 4to 11" - 13" tall; 221 pages . Tahiti Perles hardcover‎

Bookseller reference : 20597 ISBN : 9971400499 9789971400491

‎Salomonsky, Edgar; and, Salomonsky, Verna Cook‎

‎AN EXEMPLAR OF ANTIQUE FURNITURE DESIGN‎

‎Grand Rapids MI: Periodical Publishing Co 1923. HC. good faux limp leather boards hardcover with light edgewear. A Collection of Measured Drawings of Furniture in The Metropolitan Museum of Art Accompanied with Photographs and Text. Periodical Publishing Co unknown‎

Bookseller reference : BOOKS068268I

‎SALON C CURRIER‎

‎1865 UNIQUE FASCINATING ORIGINAL HANDWRITTEN DIARY BY AN AMERICAN LAYING LOW IN SOUTH AMERICA LIVING A LONELY BUT RUSTIC COWBOY LIFESTYLE IN THE RURAL ARGENTINA MOUNTAINS‎

‎BANTON VERMONT VA BUENOS AIRES ARGENTINA. Good. 1865. On offer is a fascinating and unusual diary written by Salon C. Currier of Banton Vermont written towards the end of the Civil War. Currier is an American who travels from Vermont to Argentina to become a cowboy of sorts. Instead of cattle in the United States he herds sheep in Argentina. He documents his entire experience from his first experiences aboard the steamship heading to the new country to his days of work in Argentina. All is documented in great detail. There is also a very strong sense from portions of his diary that Currier did not leave the United States fully voluntarily that he is most probably fleeing something from his past though he never states what that is. The inside cover of the diary reads “Book Bought of Miron Joslyn Nov. 30th 1864. The last night in Boston. Bound for Buenos Aires South America.” The diary begins The diary begins Dec 3 1864. These entries are located in the “Memoranda” section of the diary after the main diary entries and are short and concise. They begin with Currier getting onboard the steamboat: “Dec. 3 1864. Went onboard the ship tonight at 4 O’Clock. Eat supper at 5 O’Clock.” The steamboat is called the "Saint Dominique" and is commanded by Capt. D Gerrior. It takes him almost two months to reach Argentina. “Sunday January 1 1865. We were within 8 degrees of the Equator it would be impossible to count the number of showers we had through the day besides a gail and a hard one to.I think that this is a beginning a new year under difficulties. We could not stay on deck nor in the cabin it was a lonesome day at 4 ‘o'clock a norther calm I guess we shall have to spend the winter here. And quite different from Vermont you may tell rested very well The Chinese say ‘Bad Beginning makes a good ending’ they say.” He has some sort of run in with the Capt. and holds him in contempt for the entire journey. He states. “I will have words with the Capt. as soon as we land in South America.”; “January 10 1865. There was a heavy swell today the old ship rolled so I did not sleep one night. This is the hottest day we have seen. There was a great excitement onboard. We had a pie for supper it made me dream of home. I wish some of the folks of Banton were here to experience the living we have. I found only four hairs in my pie.It was splendid I never hated a man quite so bad as I do the Capt. I think he will get some of my mind when we land.” Currier spends much of the time on the boat very wistful about Vermont and his abrupt departure from Banton. At the end of January he arrives in Buenos Aires. “Jan 25 1865. I stayed at Miss Brodley’s Boarding House in the city of Buenos Aires South America and rested the best i’ll have since I left Boston. I have been traveling over the city some have been up to the depot and seen the cars.They look odd and strange to me I have run over the city until I am tired all out. It is hot enough to roast eggs in the sun. Today I have seen all of the city I want at present I want a change now. They are about 100 years behind the times in my notion. How I wish I could speak Spanish I should be perfectly happy.” When he arrives in Buenos Aires he is met by a gentleman Mr. Mellion who is some sort of middleman or fixer for a Sheep herding operation. “Jan 30 1865. Well this is my birthday & I wish I could spend it in my native state. We road out a little ways & it has made me awful lone you may bet it was a hard horse to ride. I wish I was 10 years younger than I am but that cannot be. I hope that when the day comes gain I shall feel better comfort than I am today. If I live to see it & I hope I shall not have to see more than two of them in this country. It is not very warm today rather pleasant of the two. Mr. Mellion came today & he looked comical & rough. One can hardly keep from laughing in his face.” After preparing and resting in the city he is prepared for his profession and the adventure continues. He sets out with other North Americans by horseback and they ride to a fairly remote part of Argentina. Along the way he buys his own horse with gold and they ride many miles camp in old battle fields filled with cannon balls. “Feb 31865. I bought a horse this morning for 12 dollars in gold the first one I ever owned. he is a good one to ride him out to the camp we are going to is a rather pretty place. I had a nice ride and made the acquaintance of Mr. Frank Danver he is a smart looking fellow I like him very well what I have seen of him. My horse has got a very easy gallop for me I hope he will be a good one.” His first few months in Argentina are very difficult for Currier. A typical entry reads something like this: “Feb 24 1865. I got up as soon as there was any day light & started with the sheep without any breakfast & my jaw was lame I could not eat much all day. So I started not in the best of spirits that I ever was. We got the sheep down to the river at sunrise & then we had trouble getting them across the river. We worked hard until noon before we got across with all the help we could get. We stopped at a native’s house at 1 o’clock to get some meat to eat it was strong and tough. I drank water that the folks at home would not wash their hands in it was so nasty. This was the longest day in my life I have ever seen.”; “March 6 1865. We work on the well today and putting on the finishing touch it is awful hot today. I carried my dirty clothes to the wash woman today for the first time since I left home and they were dirty to. I am so sick and through with this life that is so.I wish i was in tiger places about now and going home. Money is of no merit.” At one point he and his companions even have their horses stolen: “March 19 1865. Well we can’t find the horses that ain’t the worst of it for I guess they are gone for good. But such is life that is one of the customs of the county to have horses stolen from you. It is clouding up and its going to rain. The bricks have arrived for the house & I am glad. We had some potatoes for the first time in camp and they were good.You may bet after living so long without them. I wish I was in Benton so i could go to church for that is a privilege i have not had since I left home.” He often writes about loneliness and missing a young lady. He also gets word of some major events of the civil war and comments on the death of President Lincoln: “There has been two English gentleman here today and they were warmly received. They brought us news that Charleston S.C. was taken by the North. Our feelings can hardly be imagined than described. We gave three loud cheers for the Union. Such news as this set me to thinking about going home rather than looking after sheep.” He fills the page with his thoughts on Argentina his inability to speak Spanish cultural misunderstandings and much more. Eventually he settles into a rhythm and life becomes easier for him it seems. “June 14 1865. This is another fine day in So. America. The flock has been very quiet all day and I am very thankful for it. I comment a letter for home today. It does not seem as if I could wait another week before I can have a letter. I was over to Mr. Melliion’s place today he has comment on his after so long a time. We had a great time tonight trying to catch the cow. I thought we never should ge her but we did after a long time and got some milk for supper and it paid us well for our trouble. Such is life.”; Nov 10 1865. This is a little cooler morning than usual. Olsen is a looking after the flock and horses today and he says he shall have a man as soon as possible. I thought one day would bring him to getting someone soon For I am not going to look after sheep for a living out here for I can do better.” Finally near the end of the year Currier prepares to go back home. “Dec 201865. Well I called on the American Consul this morning Mr.Helper - and found him to be a very pleasant man to meet with. I had a good visit with him and met two gentlemen just out from the States and they are very pleasant to meet and asked me to their rooms to give a good description of camp life but they do not seem to like it much and seem to be anxious to get home. I am the happiest mortal on earth they have seen.” Finally he leaves back for America on December 31st. “We commence sailing at 4 o’clock this morning homeward bound and at the same time bidding good bye to the old year. What changes have been made in this world to many a mortal’s life and soul during that short space of time. It seems like a dream to look back upon ones life. How I wish I could be home tomorrow to wish them all a Happy New Year but I hope to be soon at least. I have been reading all day on deck we have been sailing 6- 8 knots an hour and it makes us all pleasant to say the least.” There are over 350 pages of writing in the diary. Currier writes in pencil and often in small script but the book is often very legible. There are frequent spelling mistakes on most pages but they are not hard to look past. The cover is black and worn and has a large tear.; Manuscript; 8vo - over 7¾" - 9¾" tall; KEYWORDS:HISTORY OF SALON C. CURRIER BANTON VERMONT BOSTON MASSACHUSETTS BUENOS AIRES ARGENTINA AMERICAN GAUCHO COWBOY AMERICAN IN SOUTH AMERICA ON THE LAMB LAYING LOW STEAMBOAT SAINT DOMINIQUE CAPTAIN D. GERRIOR CIVIL WAR ERA 19TH CENTURY EXPATRIATE SHEEP HERDING AMERICAN ABROAD RURAL ARGENTINA 1865 IN ARGENTINA POST-COLONIAL SOUTH AMERICA AMERICANA HANDWRITTEN MANUSCRIPT DOCUMENT LETTER AUTOGRAPH WRITER HAND WRITTEN DOCUMENTS SIGNED LETTERS MANUSCRIPTS HISTORICAL HOLOGRAPH WRITERS AUTOGRAPHS PERSONAL MEMOIR MEMORIAL ANTIQUITÉ CONTRAT VÉLIN DOCUMENT MANUSCRIT PAPIER ANTIKE BRIEF PERGAMENT DOKUMENT MANUSKRIPT PAPIER OGGETTO D’ANTIQUARIATO ATTO VELINA DOCUMENTO MANOSCRITTO CARTA ANTIGÜEDAD HECHO VITELA DOCUMENTO MANUSCRITO PAPEL . hardcover‎

Bookseller reference : 0009032

‎SALVA Y MALLEN, PEDRO‎

‎Catalogo de la biblioteca de Salva‎

‎Barcelona: Instituto Porter de Bibliografia Hispanica de Barcelona 1963. 2 vols. limited edition reproduction of the 1872 edition; text illustrations; original cream wrappers vol. 1 a bit soiled spines of both vols. slightly darkened and cracked still a very good partially unopened set. Philologist Vincente Salva y Perez 1780-1849 began work on the catalogue of his 4070 items and his son took over upon his death in 1849. The collection was eventually acquired and enlarged by Ricardo Heredia. Instituto Porter de Bibliografia Hispanica de Barcelona unknown‎

Bookseller reference : 27913

‎SALVA Y MALLEN PEDRO‎

‎Catalogo de la biblioteca de Salva‎

‎Barcelona: Instituto Porter de Bibliografia Hispanica de Barcelona 1963. 2 vols. limited edition reproduction of the 1872 edition; text illustrations; original cream wrappers vol. 1 a bit soiled spines of both vols. slightly darkened and cracked still a very good partially unopened set. Philologist Vincente Salva y Perez 1780-1849 began work on the catalogue of his 4070 items and his son took over upon his death in 1849. The collection was eventually acquired and enlarged by Ricardo Heredia. <br/><br/> Instituto Porter de Bibliografia Hispanica de Barcelona unknown books‎

Bookseller reference : 27913

‎Salvado RUDESINDO‎

‎Mémoires historiques sur l'Australie‎

‎Paris: A. Pringuet 1854. Fine. A. Pringuet Paris 1854 13.50 x 22 cm relié First edition translated from Italian into French by Abbé Falcimagne with notes and a history of the discovery of gold. Full black cardboard binding smooth spine decorated with blind-stamped compartments boards with blind-stamped frames contemporary binding. Some occasional light foxing complete with its folding map at rear. A. Pringuet hardcover‎

Bookseller reference : 7993

‎Salvador DALI - Alain BOSQUET‎

‎Entretiens avec Salvador Dali‎

‎Paris: Pierre Belfond 1971. Fine. Pierre Belfond Paris 1971 11 x 18 cm broché First edition of which there were no deluxe copies. Handsome copy. Dated manuscript signature by Salvador Dali on the half-title page. Pierre Belfond unknown‎

Bookseller reference : 87578

‎Salvador DALI‎

‎La Vie secrète de Salvador Dali‎

‎Paris: La Table Ronde 1952. Fine. La Table Ronde Paris 1952 14.50 x 20 cm broché First edition of the French adaptation by Michel Déon one of 120 numbered copies on pur fil paper the only deluxe copies. Illustrated. Handsome copy despite two crease marks on the covers. La Table Ronde unknown‎

Bookseller reference : 80093

‎Salvador DALI - Robert DESCHARNES‎

‎Salvador Dalí‎

‎Paris: Nouvelles Editions Françaises 1973. Fine. Nouvelles Editions Françaises Paris 1973 24.50 x 32.50 cm reliure de l'éditeur Illustrated edition with 48 color plates reproducing works by Salvador Dalí. Leaves slightly warped at upper margin. Publisher's binding in full olive green skyvertex smooth spine minor rubbing traces to joints. Rich iconography. Large and beautiful signature with a shooting star drawing in blue felt-tip pen by Salvador Dalí covering the half-title page and the facing page. Nouvelles Editions Françaises unknown‎

Bookseller reference : 86530

‎Salvatore ROSA‎

‎Figurine. Varia et concinna delineamenta‎

‎S. n. 1656. Fine. S. n. Ca 1656 petit in 4 relié ROSA Salvatore Figurine. Varia et concinna delineamenta N. n. n. p. n. d. circa 1656 small in-4 155 x 22 cm one frontispice et 60 plates restoration-period binding 62 etchings on thick paper. Very rare. Salvatore Rosa made these etchings around 1656 in a collection originally entitled Figurine. This collection has a different title in the cartouche on the frontispiece just as another copy in the Soares dos reis Portuguese National Museum bears the title: Has ludentis oty Carolo Rubeo singularis amititiae pignantes. D. D. D. The copy in the Portuguese museum is cataloged as a posthumous edition from the 18th century. Most of the engravings in this set can be seen separately at the Fine Art Museum of San Francisco the Achenbach Foundation for Graphic Art the biggest collection of engravings in America. The Los Angeles County Museum has 8 while the Museum of Fine Art in Boston has 4. The engravings are described as having the same format as our set 13.6 x 8.9 cm some engraved after anonymous artists others drawn by Salvatore Rosa himself; the stylistic differences are clearly visible. The frontispiece of the copy held in the San Francisco museum is blank. The museum has only 52 engravings all reversed. All the engravings in the present set have a monogram with the two letters S and R interlaced. Some of the monograms are reversed which leads one to think that the plates themselves are also reversed. Plate 29 has been repaired the lower margin under the engraving has been replaced the plate having been at some point cut to the edge of the image. Light brown stain to the upper margin of title not touching plate. Plate 33 incorrectly cut at bottom margin. An Italian book has recently appeared on the subject: Figurine d'acquaforte: mostra di incisioni di Salvatore Rosa. Benevento Museo del Sannio 9 dicembre 2000-7 gennaio 2001 published by the del Sannio Museum. Restoration-period navy blue polished half sheep spine with blindstamps and blindruled fillets and gilt roulettes. A small tear with lack to head of lower joint. Salvatore Rosa 1615-1673 was born in Naples and died in Rome. He worked at the court of the Medicis and was a major Italian Baroque painter as well as a poet and popular actor. He was later considered to have heavily influenced the Romantic style. S. n. unknown‎

Bookseller reference : 11464

‎Salzbrunn, Ingeborg; Josef Bellot (pref)‎

‎Die Einbandsammlung der Staats- und Stadtbibliothek Augsburg Veröffentlichungen der Staats- und Stadtbibliothek Augsburg Band 1‎

‎Glashutten im Taunus: Verlag Detlev Auvermann KG 1976. Book. Near Fine. Hardcover. First Edition. 4to - over 9¾" - 12" tall. Dark blue 1/4 leatherette lettered in gold foil blue marbled paper covered boards. Slight binding lean slightly rubbed spine extremities and corners. Nicely preserved copy. xi178 pp. with 52 pp. b&w plates at rear showing 111 examples of decorative bindings. Text in German. Verlag Detlev Auvermann KG Hardcover‎

Bookseller reference : BIBL0121

‎Sam'l Bingham's Son Mfg Co‎

‎Old times in the print shop wrapper title‎

‎Chicago: The Company 1939. First edition oblong 8vo pp. 71 1; over 30 wood engraved illustrations showing life in aprint shop and the lives of printers; original cream wrappers printed in red; some edge curling and one short tear in the fore-edge otherwise very good. Prepared for the National Graphic Arts Exhibition of 1939. Sam'l Bingman's Son Mfg. Co. for 80 years made printers' rollers and lith-offset rollers. The Company unknown‎

Bookseller reference : 51352

‎SAMERJAN, George (1915-2005)‎

‎Signed First Day Cover‎

‎Prolific painter illustrator graphic designer and WPA muralist responsible for the 1959 "Arctic Exploration" and 1967 "Erie Canal" U.S. postage stamps. Signed First Day Cover 6½" X 3½" cancelled in Bloomington Illinois on 23 October 1965 and with "First Day of Issue" boldly stamped. Single Samerjan-designed 5-cent "Stevenson" stamp at upper right. Fine. No decorative cachet at left; no distracting recipient's name/address. Just below the postal cancellation Samerjan signs large and bold in black fineline and below his signature he's rubberstamped "George Samerjan Designer of Stamp". Signed also at left in black ballpoint by the noted son of the stamp's subject: ADLAI E. STEVENSON III b. 1930. unknown‎

Bookseller reference : 25852

‎SAMFORD, C CLEMENT, and JOHN M HEMPHILL, II‎

‎Bookbinding in colonial Virginia‎

‎Williamsburg VA: Colonial Wiliamsburg 1966. First edition 8vo pp. xxi 3 185; 1 full-page illustration in the text and 14 images on rectos and versos of 7 plates; a fine copy in original white gray and tan wraps printed in black; housed in a custom gray cloth-covered clamshell box with tan printed paper label on spine. Part of the publisher's Williamsburg Research Studies series. Colonial Wiliamsburg unknown‎

Bookseller reference : 31833

‎SAMIVEL‎

‎Le soleil se lève en Grèce‎

‎Grenoble: Arthaud 1954. Fine. Arthaud Grenoble 1954 20 x 25.50 cm broché Edition illustrated with numerous photographs by Samivel and Michel Gidon. Handsome copy complete with its glassine wrapper. Arthaud unknown‎

Bookseller reference : 72234

‎SAMOSA GARCIA, ANASTASIO (1896 - assassinated 1956; Nicaraguan dictator):‎

‎Document signed 'A.Samosa' as El Presidente de la Republic accepting Archibald Wallace Robertson as British Consul General to Nicaragua to reside at Managua. 29th July 1946.‎

‎Printed document filled-in by hand 14 x 18 inches countersigned by El Secretario de Estabo en el Despacho de Relaciones Exteriores and with two blindstamp seals. A few short marginal tears at one time folded into four some creasing and surface soiling unknown‎

Bookseller reference : 2103

‎SAMPSON, LOUISA HOLDSWORTH‎

‎1920 ORIGINAL MANUSCRIPT DIARY OF NOTED ABSTRACT ARTIST ROGER HILTON'S MOTHER‎

‎NORTHWOOD LONDON ENGLAND ST IVES CORNWALL. Good. 1920. On offer is a densely written manuscript diary dated 1920 handwritten by Louisa Holdsworth Sampson mother of artist Roger Hilton. Besides being a lovely account of daily life in a middle class family during the years immediately after the World War I in 1920 there is insight into the early life of Roger when he was still a child. The book does not provide identification but this diary came from a larger archive providing provenance. A total of 220 pages the largish page a day diary is over seventy percent full. Hilton came by his artistic abilities honestly as his mother trained as a painter at the Slade School where Hilton also studied 1929-31. BIO NOTES: One online source: Roger Hilton CBE 1911 - 1975 was a pioneer of abstract art in post-war Britain. He was born in 1911 in Northwood London and studied at the Slade School of Fine Art London under Henry Tonks and also in Paris where he developed links with painters on the Continent. In World War II he served in the Army part of the time as a Commando for about three years being a prisoner of war after the Dieppe raid of 1942. He worked as a schoolteacher for a time after the war also teaching at Central School of Arts and Crafts 1954-56. During the 1950s and 1960s Hilton began to spend more time in west Cornwall moving there permanently in 1965. In the same year he married Rose Phipps 20 years his junior having divorced his first wife Ruth David. He became a prominent member of the St. Ives School and gained an international reputation. He won the 1963 John Moores Painting Prize and was appointed CBE in 1968. By 1974 he was confined to bed as an invalid precipitated in part by alcoholism. His work became less abstract in his later years often being based on the nude or images of animals. He died at Botallack not far from St Ives in 1975. Overall G.; 12mo - over 6¾" - 7¾" tall; KEYWORDS: ROGER HILTON LOUISA HOLDSWORTH SAMPSON BOTALLACK ST IVES CORNWALL ARTISTS ABSTRACT SLADE SCHOOL OF FINE ART WOMEN STUDIES GENDER STUDIES SOCIAL STUDIES WRITER HOLOGRAPH SIGNED PERSONAL MEMOIR HANDWRITTEN HAND WRITTEN AUTOGRAPH AUTOGRAPHS BRITISH ENGLAND ENGLISH SIGNED LETTERS DOCUMENT DOCUMENTS MANUSCRIPT MANUSCRIPTS WRITERS WRITER AUTHOR HOLOGRAPH TRAVEL PERSONAL ANTIQUITÉ CONTRAT VÉLIN DOCUMENT MANUSCRIT PAPIER ANTIKE BRIEF PERGAMENT DOKUMENT MANUSKRIPT PAPIER OGGETTO D'ANTIQUARIATO ATTO VELINA DOCUMENTO MANOSCRITTO CARTA ANTIGÜEDAD HECHO VITELA DOCUMENTO MANUSCRITO PAPEL . unknown‎

Bookseller reference : 0001497

‎SAMSON, FrancoisJ (1924-70)‎

‎Autograph Letter Signed‎

‎French composer and chapel master of Dijon Cathedral. ALS in French 2pp 5¼" X 8¼" n.p. Dijon France 1949 June 12. Addressed to Chicago pianist John Leiser. Near fine. Excellent music content in which Samson discusses in his tiny neat script success lists early sacred music his choir is recording and comments on the suffering left behind by the war. With original stamped envelope addressed in Samson's hand. A great example and exceptionally early. unknown‎

Bookseller reference : 28695

‎Samuel BECKETT‎

‎Assez‎

‎Paris: Les Editions de Minuit 1966. Fine. Les Editions de Minuit Paris 1966 - broché Les éditions de minuit Paris 1966 original wrappers. First edition one of 662 numbered copies on vélin cuve B.F.K. de Rives this one of 100 hors commerce advance copies. Inscribed copy signed by Samuel Beckett to Ludovic Janvier and his wife. A good copy. Les Editions de Minuit unknown‎

Bookseller reference : 46805

‎Samuel BECKETT‎

‎Berceuse suivi de Impromptu d'Ohio‎

‎Paris: Les Editions de Minuit 1982. Fine. Les Editions de Minuit Paris 1982 10 x 18 cm broché First edition one of 99 numbered copies on Arches vellum the only deluxe copies. Handsome copy. Les Editions de Minuit hardcover‎

Bookseller reference : 73883

‎Samuel BECKETT - (inscribed to Geer van VELDE)‎

‎Bing - Exemplaire de Geer Van Velde • Bing – Geer Van Velde’s Copy‎

‎Paris: Les Editions de Minuit 1966. Fine. Les Editions de Minuit Paris 1966 14.50 x 19.50 cm broché First edition one of 100 hors commerce numbered copies on BFK de Rives paper the only grand papier deluxe copies with 662 other copies on BFK de Rives paper. Precious copy inscribed and dated October 1966 by Beckett to his friend the painter Geer Van Velde and his wife Lise. Nice copy. “What to say of the sliding planes the shimmering contours the cut-out figures in the fog the balance that any little thing can break breaking and re-forming themselves under our very eyes How to talk about the colors that breathe and pant Of the swarming stasis Of this world without weight without force without shadow Here everything moves swims fells comes back falls apart re-forms. Everything stops non-stop. One would say it's the revolt of the internal molecules of a stone a split second before its disintegration. That is literature” “The Van Veldes' Art or the World and the Trousers” in Cahiers d'Art n°11-12 Paris 1945. Beckett here is not talking – despite how it may appear – about his literary oeuvre but about the paintings of Geer Van Velde going on to add a few lines later “Bram Van Velde paints distance. Geer Van Velde paints succession.” This elegy published on the occasion of the double exhibition of the Van Veldes Geer at Maeght's and Bram at the Galerie Mai is the first important text on these painters more or less unknown to the public at the time: “We've only just started spouting nonsense about the Van Velde brothers and I'm the first. It's an honor.” This is also the first critical text written directly in French by a young Irish writer who had not as yet published anything in France. Thus the first and most important of Beckett's writings on art composed at the dawn of his literary career establishes – right from the start – a fundamental relationship between his developing work and his friends' art: “Thus this text has often been read in a hollow or in the mirror as one of the rare designations of Beckett's poetry to come by the man himself a sort of anamorphic program of writing” Un pantalon cousu de fil blanc : Beckett et l'épreuve critique by Pierre Vilar. A real statement of dramaturgical intent this fundamental text whose introspective value Beckett lays out from the introduction on “one does nothing but tell stories with words” ushers in the writer's most fruitful creative period. In essence like Apollinaire and Cendrars Beckett draws from the artistic problems of his contemporaries the catalyst of his own future writing through “the deepest questioning of narrative figurative or poetical presuppositions” Pascale Casanova in Beckett l'abstracteur. The major influence of modern painting on the narrative structure – or destructuring – of Beckett's drama and novels would be pointed out and examined by a number of thinkers among them Gilles Deleuze Julia Kristeva and Maurice Blanchot. It was in fact with the art of the Van Veldes first Geer then Bram that Beckett began to formalize this desire to translate the pictorial question into dramaturgical terms. Thus it was that he rejected Nicolas de Staël's set design for Godot since: “the set must come out of the text without adding anything to it. As for the visual comfort of the audience you can imagine how much I care. Do you really think you can listen with the backdrop of Bram's set or see anything other than him” Letter to Georges Duthuit 1952. When he met Geer in 1937 “Beckett was going through a major existential crisis and had just been reworking his first novel Murphy which had been rejected by a great many publishers. He was lost in alcohol leaving Ireland and moving once and for all to Paris” Le Pictural dans l'œuvre de Beckett Lassaad Jamoussi. He returned from a long artistic journey in Germany where he was marked by classical works as well as contemporary art – it was during this journey that he discovered Caspar David Fr Les Editions de Minuit unknown‎

Bookseller reference : 51867

‎Samuel BECKETT‎

‎Comment dire • What Is The Word‎

‎s. l.: S. n. Jean-Jacques Sergent 1998. Fine. S. n. Jean-Jacques Sergent s. l. s. d. 1998 17 x 25.50 cm broché Comment dire What Is The Word no publisher no place ca 1980 17 x 25.5 cm original wrappers A curious and fascinating Lettrist publication about which we have not been able to find any publication details. A good and very rare copy in tracing-paper covers occasionally interlaced with leaves of flexible plastic the whole sewn and protected with a cover of thicker tracing paper. he text is illustrated with images that now recall the Middle Ages and now look forward into modernity. A very good copy despite the missing initial self-adhesive sticker on silver paper at the beginning of the volume bearing the title. S. n.[ Jean-Jacques Sergent] unknown‎

Bookseller reference : 69320

‎Samuel BECKETT‎

‎Comédies et actes divers‎

‎Paris: Les Editions de Minuit 1966. Fine. Les Editions de Minuit Paris 1966 12 x 19 cm broché First edition on ordinary paper. Autograph inscription signed by Samuel Beckett to Gaetan Picon. Les Editions de Minuit unknown‎

Bookseller reference : 60477

‎Samuel BECKETT‎

‎Film‎

‎Paris: Les Editions de Minuit 1972. Fine. Les Editions de Minuit Paris 1972 14.50 x 19.50 cm broché First edition of 342 numbered copies on vélin d'Arches this one of 50 hors commerce copies. Autograph inscription from Samuel Beckett to Ludovic Janvier. Spine slightly sunned not serious. Les Editions de Minuit unknown‎

Bookseller reference : 46804

‎Samuel BECKETT‎

‎Le monde et le pantalon‎

‎Paris: Les Editions de Minuit 1989. Fine. Les Editions de Minuit Paris 1989 10 x 18 cm broché First edition on ordinary paper. Signed autograph inscription from Samuel Beckett to his long-time friend Josette Hayden wife of the cubist then realist painter of Polish origin Henri Hayden. The numerous exchanges between the latter and Beckett inspired the dialogues of Estragon and Vladimir in Waiting for Godot. The Hayden couple spent twenty years with the writer settled ""in his small pavilion in Ussy near La Ferté-sous-Jouarre this lair this cave where solitary he went to seek the root of words in the abysses of life so close to death. It is there that he forged the greater part of his masterful work."" Christian de Bartillat Deux amis Beckett et Hayden. Beckett had met the Haydens in 1943 when all three had taken refuge in Roussillon escaping the Gestapo. Their shared passion for chess and painting brought them together: ""There are wonderful days. Here and there a dinner with the Haydens. Played chess once. Looking crucified for twenty moves before making an error that resulted in a draw."" Bartillat p. 95. Beckett helped make Hayden's work known after the war notably by helping to organize exhibitions of his works in Victor Waddington's London gallery. After the immense success of Waiting for Godot Beckett bought a country house in 1953 in Ussy-sur-Marne in the hamlet of Molien. There he found the calm and serenity conducive to writing and saw the Haydens almost daily who lived not far away in Reuil-en-Brie. It was in the heart of this ""land neither too green nor too flat"" Beckett wrote to a friend in 1954 that this fraternal and creative friendship flourished punctuated by games of chess. After Henri Hayden's death in 1970 which greatly affected the writer Josette remained a central figure in Beckett's life and work. She helped him record his ideas for future works - several of the writer's notebooks contain passages written in her hand. She also contributed to the writer's biography by sharing her intimate memories and anecdotes published in Deux amis Beckett et Hayden by Christian de Bartillat. Exceptional inscription to a close friend who spent time with Beckett for nearly half a century. Josette Hayden was one of the rare intimates of his reclusive life on the banks of the Marne contributed to the genesis of several of his writings and worked to preserve his memory. Beckett's correspondence addressed to the Hayden couple is preserved at Trinity College Dublin. Les Editions de Minuit unknown‎

Bookseller reference : 83344